In "The Lie of the Land," the multi-part story of the Monks comes to an end, with patently ridiculous plotting and sadly diminishing returns.
"The Pyramid at the End of the World" presents a familiar conflict: the Doctor vs. God. So this week I'm taking a long look at the treatment of religion in New Who.
Steven Moffat's "Extremis" inspired some thoughts on River Song, death, and the problem of endings in Doctor Who.
"Doctor don't you call me, cause I can't go/ I owe my soul to the company store..." Workers of the world unite behind the Doctor in Peter Mathieson's "Oxygen."
Delivering nothing, saying nothing, and meaning nothing, Mike Bartlett's "Knock Knock" is a forgettable and regrettable hour of Scooby Who.
Some excellent character work elevates a fairly standard "monster-of-the-week" story.
New companion Bill learns what it means to travel with the Doctor—and proves her mettle—in a strong second episode.
It's a brand new season, a delightful new companion, and a welcome new beginning for Doctor Who.
There are many ways in which 2016 was a terrible, no-good, very bad year. But television provided a ridiculous embarrassment of riches.
The sixth season finale of Game of Thrones finds women seizing control of the board. But who will these women need to become to hold onto power?
Four shows enter. Three shows suck.
The third week of the Fall 2016 premiere season brings a veritable cornucopia of new network shows—most of them far better than I expected.
In this week's installment of "First Look/Last Look," it's a bit of a mixed bag.
Every year in “First Look/Last Look,” I pan for TV gold in the fetid riverbed of the new fall season. This year, the first batch—surprisingly—is all gold.
"Battle of the Bastards" is a magnificent hour of television. But is it a great episode of Game of Thrones?